There are few publications that capture the Zeitgeist of global brands better than our travel editor Stanley Moss’s Global Brand Letter, published regularly for the last 21 years.
The 2025 edition is out now, hosted on his website, with coverage from the worlds of advertising, technology, trends, media, entertainment, design, and IP—and all related back to branding, delivered in inimitable style. Favourite items include stoned Egyptians from the 2nd century BC, and an almost cinematic story on malicious code found in Linux, a lesson on how to give mundane computer code a sense of high-stakes drama.
The only other letter that we enjoyed in digest form, with this much wisdom and perspective packed in to the prose, was the Royal Bank Letter in Canada, which never touched on royalty or banking.
Once again, it’s a triumph of observing the things that mattered in the intersection of global culture and branding, and where things might springboard off next as we head into uncertain times.
Download it free at www.diganzi.com/docs/2025GlobalBrandLetter-JanuaryEdition.pdf.
Meanwhile, our publisher has released our own edition of Ernest Hemingway’s eminently readable and poignant A Farewell to Arms, in a form that the author envisaged: uncensored and unabridged, with the swear words intact.
Once the title entered the US public domain on January 1, JY&A Media prepared it for production. This isn’t a hastily put-together reprint, but carefully reset to Hart’s Rules, with the adult language put back in. This was something denied Hemingway when his story was first serialized (and abridged) in Scribner’s Magazine, and then when it appeared in novel form later in 1929. (He hand-wrote the censored words in two known copies that he gifted.) A new foreword addresses Hemingway’s privilege and his less desirable traits, as well as the inclusion of a racist word (one which made the cut in 1929, while balls was eliminated). It’s the first fiction title retailed by our online shop at Libriz, which had hitherto kept to our fashion and automotive subjects.
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